Alicia Kopfstein-Penk is an enthusiastic postmodernist who teaches at American University. As a performer, she has sung Bernstein at the Metropolitan Opera, Beatles at clubs, and played classical guitar at the Kennedy Center. She is also a contributor to Soundboard, and a podcast producer for the Washington National Opera.

• A Note on FiguresList of TablesForewordPrefaceIntroductionChapter 1: Background: Who, When, and HowChapter 2: Decisions: Topics, Pieces, and PerformersChapter 3: The Postmodernist: Highbrow, Lowbrow, and Middlebrow JoinedChapter 4: The Television Pioneer: Origins, Competition, SuccessChapter 5: The Pacifist: The Cold War IntrudesChapter 6: The Liberal: Civil Rights, Feminism, and the CountercultureChapter 7: The Musical Reactionary: Atonality versus Tonality or Composer versus AudienceChapter 8: The Advocate for American Music: Search for an American IdentityEpilogueAppendix A: Program Numbers, Titles, and Dates with Chapter References and Possible Motivations for Topic for Bernstein’s Young People’s ConcertsAppendix B: Alphabetical List of Bernstein’s Young People’s ConcertsAppendix C: Production and Broadcast Information for Bernstein’s Young People’s ConcertsAppendix D: Young Performers on Bernstein’s Young People’s ConcertsAppendix E: Existing Nielsen Ratings for Bernstein’s Young People’s ConcertsAppendix F: Twentieth-Century Works in Bernstein’s Young People’s ConcertsAppendix G: American Music in Bernstein’s Young People’s ConcertsAppendix H: Young People’s Concerts without Bernstein, 1958-1972BibliographyIndexAbout the Author

[Leonard Bernstein and His Young People's Concerts] is a bristlingly well-informed monograph that draws on Bernstein’s archives to tell the story of how his Young People’s Concerts telecasts came to be, and why they have had no true successors.

Alicia Kopfstein-Penk is an enthusiastic postmodernist who teaches at American University. As a performer, she has sung Bernstein at the Metropolitan Opera, Beatles at clubs, and played classical guitar at the Kennedy Center. She is also a contributor to Soundboard, and a podcast producer for the Washington National Opera.

• A Note on FiguresList of TablesForewordPrefaceIntroductionChapter 1: Background: Who, When, and HowChapter 2: Decisions: Topics, Pieces, and PerformersChapter 3: The Postmodernist: Highbrow, Lowbrow, and Middlebrow JoinedChapter 4: The Television Pioneer: Origins, Competition, SuccessChapter 5: The Pacifist: The Cold War IntrudesChapter 6: The Liberal: Civil Rights, Feminism, and the CountercultureChapter 7: The Musical Reactionary: Atonality versus Tonality or Composer versus AudienceChapter 8: The Advocate for American Music: Search for an American IdentityEpilogueAppendix A: Program Numbers, Titles, and Dates with Chapter References and Possible Motivations for Topic for Bernstein’s Young People’s ConcertsAppendix B: Alphabetical List of Bernstein’s Young People’s ConcertsAppendix C: Production and Broadcast Information for Bernstein’s Young People’s ConcertsAppendix D: Young Performers on Bernstein’s Young People’s ConcertsAppendix E: Existing Nielsen Ratings for Bernstein’s Young People’s ConcertsAppendix F: Twentieth-Century Works in Bernstein’s Young People’s ConcertsAppendix G: American Music in Bernstein’s Young People’s ConcertsAppendix H: Young People’s Concerts without Bernstein, 1958-1972BibliographyIndexAbout the Author

[Leonard Bernstein and His Young People's Concerts] is a bristlingly well-informed monograph that draws on Bernstein’s archives to tell the story of how his Young People’s Concerts telecasts came to be, and why they have had no true successors.

Alicia Kopfstein-Penk is an enthusiastic postmodernist who teaches at American University. As a performer, she has sung Bernstein at the Metropolitan Opera, Beatles at clubs, and played classical guitar at the Kennedy Center. She is also a contributor to Soundboard, and a podcast producer for the Washington National Opera.

• A Note on FiguresList of TablesForewordPrefaceIntroductionChapter 1: Background: Who, When, and HowChapter 2: Decisions: Topics, Pieces, and PerformersChapter 3: The Postmodernist: Highbrow, Lowbrow, and Middlebrow JoinedChapter 4: The Television Pioneer: Origins, Competition, SuccessChapter 5: The Pacifist: The Cold War IntrudesChapter 6: The Liberal: Civil Rights, Feminism, and the CountercultureChapter 7: The Musical Reactionary: Atonality versus Tonality or Composer versus AudienceChapter 8: The Advocate for American Music: Search for an American IdentityEpilogueAppendix A: Program Numbers, Titles, and Dates with Chapter References and Possible Motivations for Topic for Bernstein’s Young People’s ConcertsAppendix B: Alphabetical List of Bernstein’s Young People’s ConcertsAppendix C: Production and Broadcast Information for Bernstein’s Young People’s ConcertsAppendix D: Young Performers on Bernstein’s Young People’s ConcertsAppendix E: Existing Nielsen Ratings for Bernstein’s Young People’s ConcertsAppendix F: Twentieth-Century Works in Bernstein’s Young People’s ConcertsAppendix G: American Music in Bernstein’s Young People’s ConcertsAppendix H: Young People’s Concerts without Bernstein, 1958-1972BibliographyIndexAbout the Author

[Leonard Bernstein and His Young People's Concerts] is a bristlingly well-informed monograph that draws on Bernstein’s archives to tell the story of how his Young People’s Concerts telecasts came to be, and why they have had no true successors.